Carl Th. Dreyer’s 1932 film “Vampyr” is obsessed with the divide between real and unreal within its world. The film’s strength lies in its ability to explore this divide and use it to create its mood. The subtitle of the German version of the film translates to “The Dream of Allan Grey”, and many of the most striking sequences of the film consist of Grey’s dream sequences and visions. These visions propel the film forward and unveil otherwise hidden details.
The film follows the protagonist (named alternately as Allan Grey . . .
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